chapter-iii - shodhganga : a reservoir of indian theses...
TRANSCRIPT
136
CHAPTER-III
Indian classical music has achieved a very special place worldwide
due to the special contribution of great Indian artists, but inter cultural
activities and Indian musical performance are not only the factors for
globalization of Indian Classical Music but many international schools,
institutes and universities were also helped to promote and prorogate Indian
classical music world wide.
Westerns are very keen to learn this musical art, so many schools
and institutes are being established globally. Many foreign universities are
offering Indians Classical Music as a subject.
Description of some of the institutes which helps to popularize and
propagate Indian Classical Music abroad.
137
ASIAN MUSIC CIRCUIT (UK)
Asian music centre is one of the most important organization of its
kind in Europe. Created in 1989 by the Arts council of Great Britain, it has
been seen as an independent company and registered charity founded by
Arts council England since 1991.1
The Asian music centre is the leading promoter to Asian music in
the UK. It has established a privileged reputation for the variety and high
caliber of its tours and concerts, and the quality and innovation of its
education projects. The Asian music centre produces seminars, recordings,
films and exhibitions to generate a greater awareness and appreciation of
the excellence and beauty of Asian music and the develop a new generation
to talented musicians. The AMC's museum in Acton was officially opened
by the princes of Wales in 2008. It features permanent displays of Asian
musical instruments and interactive touch screens and a vast audio-video
archive and can be accessed on delicated computer terminals.
Every year, Asian Music Centre hosts a variety of workshops and
courses for singer and instrumentalist including Khayal, Tabla, Dhrupad
and Ghazals.
1 AMC.org
138
Asian Music Centre London (UK)
139
In partnership with the UK IMR's the Asian music centre sends
artists to lead performance days with detains. Working with local schools in
West London, The AMC invites teachers to bring classes into its Museum,
or sends teachers to classroom directly.
The Asian Music Centre has produced concerts in London's Royal
Albert Hall as a part of BBC proms, Royal festival Hall, Wimbley Arena
and also in the sage Gateshead and at Manchester International festival. It
occasionally bring tour to Europe the USA and Asia.
The Asian music circuit has been privilegeded to have worked with
the promote a wide variety of artists from central Asia to Indonesia but
especially from South Asia. Its promotions have included folk music such
as that of the maganiyars and langas from Rajasthan, Puppetry and gamelan
from Indonesia, the Kankars of Iran, Devotional and Mystic music such as
the great quawaali singers Sabri Brothers of Pakistan and the Nizami
Brothers of India. Baul singers of Bengal, the Naxi musicians of China, the
great classical traditions with vocal as well as instrumental performances
such as the sitar maestro Pt. Ravi Shankar, the great khyal singers Pt. Rajan
& Sajan Mishra, Santoor Maestro Pt. Shivkumar Sharma, Flautist Pt. Hari
Prasad Chaurasia, the Gugin player lixiang Ting of China to have not few;
contemporary music including shakti with John Meclaughlin and Zakir
140
Hussain, Sainkho Namchaylek and Yat Khe from Tuva, Funda-mental,
Sitar-Funk and Samsonic from UK, Orange Street from India and the
wonderful concerts of les Dongertures – a collaboration feautcering Subha
Mudgal (India) Kandya Kauyate (Mali) and Juliet Roberts (UK).2
According to the Times of India, Kolkata 28 May 2007.
Ustad Ashish Khan receives the rare honour Ustad Ashish Khan
earned the distinction of being the first Indian musician to become a fellow
of the Royal Asiatic Society of Great Britain & Ireland, UK's highest body
of Asian Arts. He is the second to his father in receiving Grammy
nominations.3
The Asian music circuits museum of Asian music is opened
officially by the prince of value interactive way to discover the diversity fo
Asian Music in a hands of environment .
The Asian Music circuit has been gathering and cataloging audio-
visual material including video clips, sound recording music and films from
across India. The Audio visual Archive includes whole concerts, rehearsals,
2 AMC.org 3 Time of India 28 May 2007
141
summer schools, seminars, lectures, instrument making session,
instruments introduction and lecture demonstrations.
Mayor of London, Baris Jahnson Comments- "I wholeheartedly
agree with the AMC's view that music is one of the deepest expressions of
people's understanding of our world. Spanning many countries and genres.
Asian music is wide-ranging as Welles beautifully poetic and evocative.
The ceutre is unique in the breadth of its collection, but it is also important
because of its commitment to music education for young people, something
that is dear to my heart."
142
WORLD MUSIC INSTITUTE (U.S.A.)
World music institute is founded in 1985 and dedicated to the
research, presentation and documentation of the finest in traditional and
contemporary music and dance from around the world.
WMI encourages cultural exchange between nations and ethnic
group and collaborations with community organization and academic
institution in fostering greater understanding of the world's cultural
traditions.4 WMI works with community groups and organizations
including Indian, Iranian, Chinese, Korean, Middle East, Latin America,
Irish and Central Asia.5 WMI presents a full season of concerts each year
in New York city and arranges national tours by visiting derisions from
abroad as well as US based artists. Through its concerts WMI seats to
educate, educations and provide spiritual nourishment.
WMI works closely with culturally specific organizations to promote
its events. Many concerts are persecuted as thematic series, these have
included the musical world of Islam, Masters of Indian music, Africa in the
Americas and national heritage masters. Others are presented as festivals
4 www.wnri.org 5 Village Vocie, Tad handrishan/ The New York Times Dated.
143
such as the New York blues festival, Grassroots Gospel festival, Festival of
Indonesia and festival of India.
WMI programs are made possible by some govt. agencies-
1. The National Endonoment for the Arts.
2. The New York state council on the Arts.
3. A state Agency.
4. The NYC department of cultural Affairs.
Some non govt. agencies are also funding to WMI –
1. American Express Company
2. Anonymous
3. The Howard Bayne Fund
4. Mary Flagler Lary Charitable Trust
5. Chamber Music America.
6. Chole Trust
7. Green Which Hours Senior Center
8. Jewish Commercial Fund
9. Merril Family Charitable Foundation
10. Mid Atlantic Arts Foundation
11. New York Community Trust
144
12. Non Profit Finance Trust
13. Paradis Charitable Trust
14. Persian Heritage Foundation
15. Phaedrus Foundation
16. The Linkerton Foundation
17. Fan Fox & Leslic R Samuels Foundation
18. Shapiro Foundation
19. David and Sylvia Teitelbaum Fund
20. Traditional Cross Road
21. Asian Cultural Council
22. Booth Ferrish Foundation
23. Helen W. Buckner Residuary Trust
24. Robert Sterling Clark Foundation
25. Dr. Gerald R. Friedman Foundation
26. J.K.W. Foundation
27. WAKA Foundation
28. Pickle Press
Some Press Reviews
"The World Music Institute present just about every exotic style that
musical man has devised" – The New York Times
145
"World Music Institute brings everything back home, form the great
master of India and passion classical music to West African griots and
drummers, Azerbaijani ensembles and Norwegian Fiddlers.
From September to June at least one a week WMI makes it easily
to New Yorkers to listen to the world without leaving town" – The Village
voice.
"It's hard to believe the world music institute has only been around
for twenty years. Over that time, New Yorkers have come to count on its
concerts as a way to discover music that may be ancient at home, but often
sounds brand new and startling here. As a concert promotes WMI
specialises in music and dance that preserves old traditions" – The New
York Times.
List of some Indian Artists sponsored by W.M.I. in year 1986 to 2008
• Nanda Banergee
• Nikhil Banergee
• Subhankar Banergee
• Debashish Bhattacharya
• Krishna Bhatt
• Debu Chaudhari
146
• Swapna Chaudhari
• Hariprasad Chaurasia
• Bahauddin Dagar
• Wasifuddin Dagar
• Anaudo Gopal Das
• Buddhader Dasgupta
• Girga Devi
• Nikhil Ghosta
• Nikhil Ghosh
• Zakir Hussian
• B. Rajan Iyer
• Pt. Ravi Shankar
• U. Ali Akbar Khan
• Ashish Khan
• Amjad Ali Khan
• Asad Ali Khan
• Bismillah Khan
• Imrat Khan
• Irshad khan
• Nishat khan
147
• Shujat Khan
• Sultan Khan
• Vilayat Khan
• T. N. Krishan
• Ram Narayan
• N. Rajan
• U. Alla Rakha
148
ALI AKBAR COLLEGE OF MUSIC (CALIFORNIA)
The Ali Akbar College of Music in the name of three schools
founded by Indian musician Ustad Ali Akbar Khan to teach Indian
Classical Music.
In 1965 he comes to Berkeley, California to teach for the Asian
society of Eastern Arts. Little did he know then that he could remain in
California, spreading the teaching of his father. Recognizing the
extraordinary interest and abilities of his Western students, he decided to
open his own school where he could teach on a regular basis.
The first school was founded in 1956 in Calcutta, India. The second
was founded in 1967 in Berkeley, information collected from with an
Interview Ashish Khan. California but marked to its current location in Sau
Rafael, California. The third was founded in 1985 in Basel, Switzerland and
is run by Ustad's disciple Ken Zukerman.
The mission of the Ali Akbar College of music is to teach, perform
and preserve the classical music of North India and to offer this great
musical legacy to all who wish to learn.
Ustad Ali Akbar khan come to this century in accordance with his
father's wish to spread the unique music of North India to the world.
149
The Ali Akbar College of Music
Ustad Ali Akbar Khan, Teaching at Ali Akbar College
of Music
Pt. Satya Dev Pawar, Teaching at Ali Abkar College of Music San
Rafel California
150
The Ali Akbar College is the only institution outside India that
teaches classical music of the Seni Baba Allauddin Gharana in the
traditional style.
Ali Akbar Khan, taught the majority of the classes himself until his
death in 2009, along with the tabla maestro Swapan Chaudhari. Since its
opening over ten thousand students have passed through the college to
learn.
The college also sponsors concerts in Indian Classical Music
featuring some of the best. Contemporary artists of India. Students at the
college comprise a cosmopolitan community of the people from all over the
world.
The College has been fortunate to have a number of outstanding
musicians come from India as visiting professor. These musicians have
shared their great musical knowledge and skills. Among these are
musicians of such senior as Pandit Ravi Shankar the Late Pandit V.G. Jog,
the Late U. Villayat Khan, Pt. Bhinsu Joshi, Pt. Nikhail Banergee, the Late
U. Alla Rakha, U. Zakir Husain, Late Pt. Jnan Prakash Ghosh, Pt. Shankar
Ghosh, G.S. Sachdev, Chitersh Das, Late V. Bahadur Khan, Ustad Ashish
151
Khan, Dhyanesh Khan, Indarini Bhattacharya, lakshmi Shankar and many
others.
The AACM store was founded along with the Ali Akbar College in
1967. This store is now North America's largest importer of quality
instruments from India. The store is run by musician who have been
studying playing and teaching north Indian Classical Music for as long as
35 years.
The College offers Hindustani Classical style- Vocal music and
instrumental music. Several Vocal and instrumental classical are offered,
weekly most students learn Sitar, Sarod or violin but one can learn on any
instrument Guitars, Talos, flutes and basses are not uncommon at the
AACM.
The classes will cover the concepts of raga and style for both vocal
and instrumental music.
Beginning and intermediate vocal classes and beginning and
intermediate advanced instrumental classes are now being offered online.
152
BHARTIYA VIDHYA BHAWAN (LONDON)
The Bhartiya Vidhya Bhawan's purpose is to preserve for posterity
the tradition of Indian Art and culture. The Bhavan was founded in
Mumbai India in 1938 and there are more than a 100 branches of the
Bhawan in India.
The UK Bhawan was the first independent overseas Branch and it is
also the largest institute for Indian art and culture outside India.
The Bhawan teachings closely follow those of Mahatma Gandhi.
The Bhawan in London was inaugurated in 1972 is a small office near
Oxford Street, After a few years, the Bhawan moved to a new property in
the Borough of Hammersmith and Fulham. This building is a beautiful
former church.
The Bhawan provides courses is music, dance languages, drama, arts
and archeology and yoga. The Bhawan associated academically with the
university of Cambridge and Trinity College of music, London.
The Bhawan aims to preserve, encourage and propogate the teaching
and understanding of Indian art and culture as an integral part of the culture
of the United Kingdom. It commends universal values in performance and
studies.
153
Some of their objective are-
1. To provide a centre of learning in the UK for Indian culture.
2. To focus on knowledge that can only be transferred usually or by
example, from teacher to pupil.
3. To train successive generation of teachers to pass on such
knowledge.
4. To send performers and teachers to other centers in UK as well as
overseas.
5. To promote universal values without politics or religion.
Bharitya Vidya Bhawan organized a unique degree, they producing
the first batch of graduates who have been studying the bachelor of music
degree in Indian classical music. This degree was organized on 14th April
2010. The Bhawan has a well –trained and experience group of teacher,
many of whom are skilled performers. Some of the teachers are brought
over from India because of their special abilities and talents.
The Bhawan also conduits outreach classes at the sattavis patidar
centre, forty lane in wenbley.
154
Bhartiya Vidya Bhawan overseas branches-
• Bhartiya Vidya Bhawan- Manchester, U.K.
• Bhartiya Vidya Bhawan Institute for Indian Art & Culture, New
York U.S.A.
• Bhariya Vidya Bhawan, Sidney Australia
• Bharitya Vidya Bhawan, Kuwait
In an interview with Mr. Sanjay Guha, a senior sitar teacher at
Bhartiya Vidya Bhawan (London)
Q1. How Bhartiya Vidya Bhawan is
contributing to Indian Classical Music?
Ans. Before Bhawan there was no
educational centre for Indian music and
language in London. Mr. Mathur
Krishan Murthy (Executive Director)
and Mr. Manik Dalal (Chariman) they both gave their great
contribution to Indian Classical Music by establishing Bhartiya
Vidya Bhawan at London.
Bhawan is the first centre who offering proper courses in Indian
classical music. Bhawan offering Indian Vocal, Indian Instrumental
155
Music i.e. Sitar, Violin, Tabla, Harmonium, South Indian Vocal,
Instrumental, Indian dance-Kathak, Bharat Natyam and Odissi,
Indian Language and Bengali Music.
So, the main contribution of Bhartiya Vidya is to providing Indian
Music, and Indian languages under one roof.
Q2. How Western people receive and respond Indian Classical Music?
Ans. Western people respond very positive. Irrespective of different
music like pure Indian Classical Music and experimental Indian
Classical Music, the response has been overwhelming among the
western audiences. Actually, Indian music is not for a mass, just for
a class.
They are very well behaved towards Indian classical music. England
has always been responsive audience in comparison to other
European countries because from 60’s they continuously been
hearing Indian classical music.
Q. What is the scope of Indian classical music in London (U.K.)?
Ans. The scope of Indian classical music in London is very bright. There
are 2 categories one who loves our Indian music and learn it a hobby
and second who learn seriously to make a carrier out of it. Due to
156
different life style of Europeans, five percent option for Indian music
to make it as their carrier.
Q. How frequent these performance are their in London?
Ans. Performances are very frequent. For the whole year their are
continuous performances. Some time I wonder instead of India, in
London we hear more Indian music and not only the wisdom
classical but everykind of Indian music.
Q. What courses are running in Bhaitiya Vidya Bhawan?
Ans. Bhartiya Vidya Bhawan offers North Indian vocal and instruments
i.e. Sitar, Tabla, Harmonium, Violin, South Indian vocal and
instruments i.e. Veena, South Indian Violin, Indian dance i.e.
Kathak, Bharatnatyam, Orissi, Bengoli Music and Indian languages.
In Indian classical music there are five year plan. Diploma 1,
Diploma 2, Diploma 3, Post Diploma and post Diploma 2.
For the bignners, Bhawan is offering one year course. In one year
course students are doing only elementary exercises and introduction
about Indian classical music.
157
Q. What infrastructure is there for the growth of Bhartiya Vidya
Bhawan?
Ans. Mr. Mathur Krishnamurthy and Mr. Manik Dala gave their great
contribution to established Bhartiya Vidya Bhawan. They involved
other Indian peoples settled in London to help Bhartiya Vidya
Bahwan. Later, they took help of Pt. Ravi Shankar, Jorge Harrisons,
Lata Mangeshkar, Princes of Wales and Many other personalities to
benefit their institutions.
Today U.K. Govt. gives Bhartiya Vidya Bhawan a annual grant and
they have membership are well as life membership.
Q. What are the main policies of Bhartiya Vidya Bhawan?
Ans. I would like to say in one sentence:
Main policies are to promote Indian Music and Indian languages
world wide.
Q. By whom Bhartiya Vidya Bhawan’s degree/diploma are recognized?
Ans. All the degrees and diplomas are recognized by Trinity college of
music London.
158
Students Performing Bharat Natyam at Bharitya Vidhya Bhawan, London
Birla Millennium Art Gallery at
Bhartiya Vidhya Bhawan
Bhartiya Vidhya Bhawan, London
159
Students Performing Bharat Natyam at Bharitya Vidhya Bhawan, London
Students Performing Bharat Natyam at Bharitya Vidhya Bhawan, London
160
MAHATMA GANDHI INSTITUTE (MAURITIUS)
The Mahatma Gandhi Institute was established by a parliament Act
in 1970. The institute was inaugurated on 9th October 1976, by Dr. the
Right Hon. Sir Seewosagur
Ramgoolam, prime minister
of Mauritius and Srimati
Indria Gandhi, prime
minster of India, as a joint
venture,6 It is a joint venture
of the government of India and the govt. of Mauritius as a centre of studies
in Indian culture and tradition and to promote education and culture in
general.
While all educational institute have a duty to develop over all human
qualities in the youth they have to train. MGI seems to be uniquely placed
to contribute to developing and nurturing those human values which can
bring about an enlighmed diversity. The MGI engages in educational and
cultural activities at different levels from post primary education and
6 MGI.com
161
secondary education to the tertiary level and through formal and non-formal
education.7
The objective behind the creation of the Mahatma Gandhi institute
were to establish as a tribute to Mahatma Gandhi a centre for study culture
and tradition and to promote education and culture in general.
The MGI will be fully operational in this plan period. It will perform
inter-alia the following functions-
(a) Provide teaching and undertake research in the various fields of
Indian culture with particular reference to those areas, which are
relevant to maturates.
(b) Offer specialized courses in languages, humanities sociology,
philosophy, art, vocal and instrumental music, dance and sculpture.
(c) Improve the quality of oriental language teachers by providing
appropriate in-service training and develop suitable methods of
certification for them.
(d) Develop and publish oriental language textbooks with local
background for use in primary and secondary schools.
7 Global impact of Indian music by Dr. Gautam Bhagat Ramyad
162
(e) Incorporate activities pertaining to the development and
administration of examination in Indian culture music and oriental
languages at school certificate and higher school certificate levels.8
The department of Indian music and dance was set up under the
school of Indian music and fine arts in 1975 to probe further into the
different expression of Indian culture. It was and is still a para-statal
institution headed by a director and governed by a council of
members comprising the chairman and the Director General of the
MGI and representative from the ministry of education and scientific
research, Ministry of Art and Culture, the Indian High Commission,
the university of Mauritius and member from other bodies and
institutions. The first director was Dr. K. Hazaresingh (1975-1982).9
The department of Indian music and dance has established itself as a
department operating up to the tertiary level for the promotion of music and
dance. It contributes to the world of performing arts, both at national and
international level.
8 Global impact of Indian music by Gautami Bhagat Ramyad 9 Ibid
163
The music and dance department started functioning in the complex
at Moka in 1975 with some 250 pupils form 11 years old onwards, learning
music and dance at different levels.
It should be noted that the first phase of the school of music had
already started at Beau-Bassin, under the name of "The school of Indian
Music and Dance" whose principal was Mr. Nandi Kishore. After its
integration into the MGI in 1970, in 1975 it moved to the main building
now in Moka. The new principal Mr. V. Shri Khande was sent from India,
under the Indian technical and education cooperation scheme.10
The main aim of the school were to-
1) Offer award and non-award courses and continuing education option
to the areas of study for both cultural enrichment and higher
academic presents.
2) Cultivate a taste for Indian classical music and dance and the fine
arts and help each student to develop his talent.
3) Provide major support to the cultural expression of the socio-cultural
organization.
10 Global impact of Indian Music by G.B.R.
164
4) Arrange public concerts, radio and TV programms talk, lecture
demonstration, seminars, film shows and exhibitions.
During 1976-1980 many important achievements were observed. As
we above said that the department started functioning with 250 pupils this
figure went on increasing during the five years. In 1978, 900 applications
were received for adjusting in certain field of classical music students
coming from all parts of the island regularly attended the classes.
Apart from regular teaching, arrangements were made for more
exposure to Indian classical music and dance by interaction and performers
by great masters from India.
The following maestros and musicologists were invited yearly –
(1) 1976- Ustad Halim Jaffar Khan (Sitar), Pandit Sadashiv was his
tabla accompanist.
(2) 1978- Prof. Sumati Mutatkar, head and dean of the faulty of music
and fine arts of Delhi University (Vocal Hindustani)
(3) 1979- Pt. Nikhal Banergee (Sitar) and Anindo Mukherjee his tabla
accompanist.
(4) 1979- Miss Laxmi Vishwanathan (Bharat Natyam Dance)
(5) 1979- Mrs. S. Das Gupta (B.N.D.)
165
(6) 1980- Prof. Debu Chaudhari, Head of the music and fine arts, Delhi
University (Sitar)
(7) 1980- Prof. L.K. Pandit, Department of Music, Delhi University
(Vocal Hindustani)
(8) 1980- Dr. Ashoke Ranade, Musicologist and Head of Department of
Music, Bombay University.
(9) 1988- Dr. Narayanan Memon, Director of National centre for
performing arts, Bombay.11
A short list of Indian classical institute in abroad
1. School of Music University of East Anglia, Norwich. U.K. A school
of India Music & Dance Rockland Country- New York.
2. Asian American Cultural Centre.
3. Indo-American Arts Council.
4. Indian Classical Music Circle of Austria.
5. Centre for the Performing Arts of India. University of Pittsburgh in
Collaboration with I.C.C.R. India.
6. The University of York.
7. Penn University of Pennsylvania (Penn-in-India)
11 Global impact of Indian Music by Gautam Bhagat Ranyad
166
8. Academy of Indian Music and Fine Arts University of Maryland,
Baltimore Country.
9. The University of Texas in Austin.
10. American Institute of Indian Music.
11. The Asian Indian Classical Music Society.
12. Maa Sharda School of Music America & Kenya Collaboration with
Pracheen Kala Kendra Chandigarh.
13. Sadhna Music School, Chicago (A non profits organization)
14. University of Virginia, Centre for south Asian Studies, the McIntyre
Deptt. of Music and the South Asian cultural society with support
from star foundation.
15. University of California Senta Cruz.
16. California institute of Arts (Calarts)
17. Indian classical Music of D/FM, A nonprofit organization, Dallas.
167
DESCRIPTION OF SOME WORKING MUSICAL EDUCATIONAL
INSTITUTION ABOARD
INDIAN CLASSICAL MUSIC CIRCLE OF AUSTIN
The Indian classical Music circle of Austin (ICMCA) a non-profit
organization was founded first in 1975, and then revived again in 1991 by
music lovers in Austin TX. with the mission of brining the very best of
Indian Classical Music and dance to central Texas, since 1991 ICMCA has
organized 100 concerts in Austin. Their performers are typically Indian
classical musicians/dancers touring the US. ICMCA also occasionally
featured chamber-music events that are free and open to the public,
typically featuring a local talented amateur artist. They also conduct free
lecture/demonstration/workshops for the public 1-2 days before the
concerts.
ICMCA also working with two organizations V.S.A. Arts of Texas
& Knowbility.org. These two roganization helps ICMCA to make their
events accessible to disabled citizens. Most of the ICMCA programs are
also co-sponsored by the centre of Asian studies, University of Texas at
Austin.
168
It is the best quality centre for leaning Indian Classical Music in
America from some time it is considered as the capital of learning Indain
classical music.
List of four years from 2001-2004 given on this website is as follows
The list of programes organized by this Austin centre in the year
2004 is as follows-
October 2004 was the biggest period of work for Pandit Avindo
Chattergee, Pandit Avindo Chatterjee teaches masters classes in U.T.
College in Austin and teaches tabla in the workshop organized for Tabla.
On October 21 he participated in a stage programme along with Hari Prasad
Chaurasia Ji and On 23 October Saturday night he took part in a stage
programme along with Stephen slavek.
On 2nd October Ustad Zakir Hussain Khan played along with L.
Shankar, Gingger Chris opper man and played tabla in the workshop in
omega centre for one week.
Tabla maestro Gauri Shankar presented a tabla programme in
college station.
Pandit Suresh Talwalkar taught Tabla students on Saturday, June 5
Pandit Suresh Talwalkar took part in a concert along with Pandit Ulhas
169
Kashalkar and Pandit Vishwanath Kamhere and produced great effect. This
concert lasted three hours and Ektal, Rupak and Teental was played on
Tabla.
On 29th May Pandit Yogesh Shamsi, a student of Ustad Allahrakha
Khan gave classes in Tabla.
On 8th May Pandit Aninda Chatterjee reached Austin via Dallas and
taught the subject of Tabla to students.
On 9th May, Sunday (artists) players of South and North L.
Subramanian and Sultan Khan played a duet in Tabla music and made the
audience realize a new kind of creativity.
From March 17 to March 21, Pandit Ravi a student, Pandit Nivbal
Gohsh and Pandit Anindo Chatterjee taught the subject of Tabla to the
Students of Austin and present a lecture on Tabla education.
Year 2003
On September 20, 2003 Saturday morning Asian American Culturla
Centre presented a music programme by Tabla studnt of Austin.
On September 20, Saturday the very famous Sitar player Ustad
Shahid Pervej – with the student of late Ustad Vilayat Khan and well
known Tabla player of Ajrada.
170
gave a stirring performance along with Akram who is a well known
table player of Ajrada Gharana of Austin and main student of Late Ustad
Vilayat Khan, Akram is a Table player in New York.
On August 15-16, Saturday and on Sunday Tabla player, Gauri
Shankar took part in a Table work shop in Austin. Audiences assembled in
very large numbers. Gauri Shankar is providing Tabla edcuation from about
four years in Austin.
Many students regard Pandit Gauri Shankar as foremost main among
their dear teachers. He is expert in Tabla and a is a good teacher.
On 11 May – April 26 after a three and a half hours programme by
Pandit Rajan Sajan Mishra and Shuben Chatterjee a mother duet of Pandit
Sher Kumar Sharma and Ustad Zakir Hussain Khan created a deep
impression by their programme. Their CD’s were sold in large numbers.
In the year 2003 Pandit Anindo Chatterjee who returned to Austin
along with the prestigious Sangeet Natak Academy award started a two day
workshop in Tabla.
Among the students 20 were of Primary. Intermediate and High
Level. On this occasion the foreign student of Pandit Ravi Shankar,
Stephen Slarek, gave a miraculous performance of Ekal Tabla.
171
On February, Saturday Pandit Hari Prasad Cahurasia and Rakesh
Chaurasia gave a two hours performance, in which Tabla was played by
Vijay Ghate a student of Pandit Arindo Chaterjee, Vijay Ghata’s
performance filled the whole programme with energy.
November 2002
On 24 November 2002, Sitar player Pandit Partho Sarth along with
tabla player Pandit Gauri Shankar gave a three hour concert.
This was a miraculous performance in Dhamar Todi.
On November 16, 23 and 24 Gauri Shankar in a three days Tabla
worshop, gave tabla education in pure traditional style, laying emphasis on
Ekal traditional style.
On September 21 Sarod player Ashish Khan along with Zakir
Hussain gave a musical performance. During this performance Ustad
Ashish Khans Sarod’s three wires were broken and during putting these
wires Ustad Zakir Hussain created great impression on the audience.
This circle of Austin is continuing since four years and these types
of Successful experiments in America are making the international role of
Indian classical music successful.
172
Tabla player Sandeep Burman, Ramdas Pal Sule (Student of Suresh
Talwalpar), Amit Bhagwat, Pandi Sadarand Nainpali, Pravesh Khan,
Shaben Chatterjee, Gyan Prakash Ghosh, Ustad Shafat Ahmed Khan,
Nayan Ghosh, student of Allarakha Khan yogesh Shasmi, foreign tabla
player Jason Mackenzee, Warren Ashford, Satish Padkoda-Mridang, Pandit
Swapna Chowdhari, Vinit Vyas and Udai Majumaar, amogn the sitar
players, Indrajeet Banerjee, Pandit Debu Chaudhary, Pandit Motilal Nag,
Meeta Nag, Sarod player Shankar Bhattacharya Tejendra Majumdar, Raji
Taranath violin player L Subramanian, Singer Rashid Khan and Sameer
Chatterjee etc. and many other famous artists take part in concerts,
workshops and educational programmes, show their responsibility towards
Indian Classical music and provide an international states to music.
Year 2000
Year 2000 was very important for Tabla education, training and various
experiments in music. Various workshops were organised. Assembly of
great artists were also organised. Pandit Gauri Shankar Karmakar of
Farrukhabad Gharana organised in eight week workshop for vigourous
training of Tabla
173
Vinti Vyas and Udai Majumdar gave the training in Banaras
Gharana, Subhen Chatterjee and Shubhankar Banerjee demonstrated their
intesne and deep intelligence while teaching some Bandishes of Tabla.
In the end of this year, Ustad Zakir Hussain along with the group of
Tabla players from India presented a concert in Houston. Hamson and Ross
of America went for education to India, where Mike from America
organised assemblies for Tabla training every Tuesday for whole of the
year. On his home, every Saturday, by providing Tabla education on a
personal level, he is serving Indian Classical music on the international
level and is a proof of international role of Indian Classical Music.
Many programmes of ICMCA are organized by Centre for Asian
Studies, University of Texax, Austin as Co-sponsor. From 1993 till now
four or five official concerts have been organised in which dance, one vocal
and one instrumental music is must. Every year in simple places or homes
four or five un official concerts are also organised.
Most by in Centre for Asian studies, University of Texas, Austin
programme related to Indian Classical music are held.
174
UNIVERSITY OF CALIFORNIA SANTA CRUZ
For encouraging Indian arts & culture particularly Indian classical
music, and making maximum member of South Asian-American people
aware of Indian arts, University of California Santa Cruz has established.
Legendary Indian musician Ustad Ali Akbar Khan was distinguished
adjunct professor of music at U.C. Santa Cruz and the campus established a
$ 250,000, Ali Akbar Khan Endearment for Indian Classical music in year
1999.12
At U.S Santa Cruz, Ali Akbar Khan presented concerts, Masters
Classes and workshops both on his own and with his associates. He also
served as an adviser to the Arts Division in the development of cornices
and resources in Indian classical music and helped facilitate bringing
outstanding guest performers and teachers to the campus.
In 2000, the Hasans unattributed an additional gift of $ 350,000 to
established the Kamil & Talat Hasan Endowment chair in Classical Indian
Music at U.C. Santa Cruz which provide ongoing annual support for the
campus programme in Indian arts.13
12 U.S. Santa Cruz current on line, October 16, 2000 13 USC currents online.
175
Kamil & Talat who belongs to the fourth generation of estate of
Nawab of Rampur, Kamil of Sargota and Talat Hasan of Rampur estate are
living out their tradition of love for music.
This endowment is being made for serving propagating and
spreading of Indian Classical Music.
Kamil Hassan Says: "Indian Classical Music is a remarkable art
from". "It stands out from popular music, because it not only pleases the
mind and the senses, it goes much deeper, it is important for us to do our
part to keep this tradition flourishing we think U.C.S.C. is the right place to
establish this endowment, both because of its proximity to silicon valley,
which is the location of a large Indian American Community and because
of the sincere commitment of vice chancellor green wood and dean
Houghton to create a major programme of Indian classical arts and South
Asian Studies."14
The tradition of Indian classical music is continuity since centuries
and its protection and encouragement is very important. The coming
generation who are born of escapists families, for them the confirmation of
14 U.S. Santa Cruz Current Online.
176
Indian Art and the qualities that are behind its deep, recognition in the
whole of the world is necessary.
Talat Says: We hope this endowment will do two things first Indian
cultural studies not for just music, but dance, drama and visual arts and
secondly, it will make these arts more widely available to future generation
of students and Indian Americans students. This is a wonderful tradition
and it really needs to be nurtured and preserved.15
The Ali Akbar Khan Endowment & Kamil Talat Endowment, these
two Endowment were the two of the very first endowment of their kind in
the United States.
In recent years UCSC has interested its programming in the art of
India as part of a planned curricular expansion in south Asia studies. This
academic initiative supports new curriculum research, conferences and
distinguished visitors focusing on such diverse disciplines as history
economics, the arts & sociology.
15 UMI.UMC.Pitt.Edu.
177
CENTRE FOR PERFORMING ARTS
UNIVERSITY OF PITTSBURGH
During 1985-96 the University of Pittsburgh, through its department
of music and the Asian studies programme served as the principal sponsor
for the Indian Classical Music programme of the festival of India in the
United States. This was in response in the request of the Govt. of India, the
festival of India in U.S.A. committee and the minister of culture and
education at the Indian embassy in Washington D.C. The ITC Sangeet
Research Academy of Calcutta and the Indian Council of cultural relations
(ICCR) were the co-sponsor and were responsible for the artistic and the
organizational matters with in India.
Under this agreement 27 musicians from India were invited by the
University of Pittsburgh. These 27 for most musicians of India represented
the two styles of Indian classical music Hindustani and carnatic. They also
present many workshops, lecture-demonstration and performances at more
than 20 American University, colleges and other similar organization in this
festival organized in America musicians played about 90 concerts in the
festival that lasted 3 days and participated in 25 to 30 workshops.
Pittsburgh University co-sponsored many concerts and workshops were
held in colleges and universities of America. If this help would have been
178
not these many institutions would have not got a chance to listen to such
high level musicians.
Subsequently at the request of the Director General of ICCR and the
Minister for culture and education at the embassy of Indian in USA, the
University of Pittsburgh negotiated a bilateral exchange programe with
ICCR establishing the university circuit for Indian classical music in United
States.16 This circuit organized annual visits of four Indian classical
musicians together with their accompanist to U.S.A. to give their
performance as well as to present lectures and conduct workshops
explaining the theory and practice of Indian Classical Music.
Since the inception of this programe in 1985, many leading
exponents of Indian Classical Music have presented over 1700
performances and some 300 workshop at over 80 universities, colleges,
schools and other similar organization. Over $ 1.80 million have been
raised in U.S.A. and Canada to raised these activities.17
Because of this success, the director general of ICCR suggested that
the scope of the university circuit be expanded to include other performing
16 www.univerelations .pitt.edu.India-III 17 www.univerelation.pitt.edu.India-III
179
Arts of India. In 1992 the establishment of the centre for the performing
Arts of India, as a component of the university centre for international
studies (UCIS) was approved by provost Henderson. This is the only
university based centre in U.S.A. that serves as an exchange program
between a consortium of American Universities and the ICCR and it has
become a nationally recognized programme for its quality and organization.
A plan is being developed to established a "Visiting Artists"
programme through which a well recognized teacher of Indian Classical
Music and of other performing arts will come to USA to offer courses to
the students at the university of Pittsburgh or any others university or
college.
The centre for the performing Arts of Pittsburgh has sponsored
concerts and lec-dem tours for the following musicians-
1. Pt. Ravi Shankhar (Sitar)
2. Hari Prasad Chaurasia
3. Shiv Kumar sharma
4. Vishnu Molar Bhatt
5. D.K. Dattar
6. Budhaditya Mukherjee
180
7. Sultan Khan
8. Shahid Parvez
9. Budhadevdas Gupta
10. Brij Narayan
11. Ashish Khan
12. Krish Batt
13. Rajeev Chakraworty
14. Reen Shrivastav
15. Nikhil Banergee
16. Ram Majamdar
17. Shubhadra Rao (Sitar)
18. Rartho Sarthi (Sarod)
19. Kalaram Nath (Viloin)
20. Rupabh Kulkarni
21. Rakesh Chaurasia
22. Nand Kumar Mula
23. Allin J. Minar
24. Raj Kishor Dal Mehra
25. Y. Rama Rao
26. Ramesh Mishra
181
27. Satish Vyas
28. Tajendra Narayan Majumdar
29. Purbayan Chatterjee
30. Ken Zukerman
182
CALIFORNIA INSTITUTE OF ARTS
In 1973 California Institute of Arts was established in Los Angelis,
California near Valencia. This institute offer programmes leading to the
Bachelor of fine Arts (BFA), Master of Fine Arts (MFA) or Doctor of
Musical Arts (DMA) degrees as well as programms leading to the
certificate of fine arts or advanced certificate of fine arts.
The purpose of this euducation is to provide the coming generation
with education with music and connected arts. So that the young generation
can keep alive the tradition of music. In this institute arts, like all arts and
their critical study dance, film, science, music and drama etc are thought at
one educational palce.
Cal Arts in internationally renewed as one of the leading and most
innovative centers for under graduate and graduate study in the performing
and visual arts.
As proud bearers of this tradition of artistic excellence they are
committed to providing the resources and support necessary for our
intimate community of student and faculty to stretch and reach beyond
themselves and their disciplines to new heights of arts making and thinking.
183
For the MFA course North Indain Musical performance taught
essentially classical musical tradition solo vocal and instrumental both are
taught. Sitar, Sarod, Flute, Tabla and other appropriate instruments are
taught.
In the method of teaching students are taught swar, sargam, lay-taal
and raag tradition, students and music teachers give regular concerts and
educational performance. In the teaching work students too give such
performances.18
Pandit Ravi Shankar has been made supervisor/director of the
Hindustani Classical Music of India and guru of John B. Higgins,
T. Vishnuwanathan has been made supervisor/director of carnatic music
branch. This institute is making constant efforts in Indian classical music
education.19
18 Calarts.com 19 UMI.OMC.pitt/India's globlization.html
184
INDO-AMERICAN ARTS COUNCIL
Keeping the goal of awareness, encouragement, music
performances, creation and education of Indian Classical Music in front, the
Indo-American Arts Council was established in North America.
The Indo-American Arts council is a registered not-for-profit,
secular and resource arts organization changed with the mission of
promoting and building the awareness, creation, production, exhibition,
publication and performance of India & cross cultural arts from in North
America.
The IAAC supports all artistic disciplines in the classical, fusion,
folk and innovative froms influenced by the arts of India. The work co-
operatively with colleges around the U.S. to broadens their collective
audiences and to create a network for shared information, resources and
funding.
Their focus is to work with artists and arts organization in North
America as well as to facilitate artists and arts organization from India to
exhibit, perform and produce their work there.
185
Goal & Objectives of IAAC
The important goals and objective of Indo-American arts council are-
1) Build an awareness of Indian artistic disciplines in North America.
2) Raise Enough Money to be able to sponsor artist's activities.
3) Function as a central clearing house for found for artistic disciplines.
4) Present artistic events in the disciplines
5) Promote and build an interested, aware and educated audiences.
6) Act as a service and resource centre for Indian art, artists and art
organizations.
7) Regular outreach programmes to schools & colleges.
8) Encourage young artists to present their work.
9) Create a network for all the various artistic disciplines to share
information and ideas.
10) Foster an exchange of artistic and arts related information between
India and the United States.20
20 Indo-American Arts Council
186
THE UNIVERSITY OF YORK
In the field of music University of York has a lot of fame. It is the
best method of increasing understanding and help on the international level.
The department of music at York university offers as innovative,
comprehensive, programme which integrates academic studies and studio
training cross a wide range of classical musical cultures and traditions.
According to the goals of this university the knowledge revived through
music innerness understanding, peace, sense of unity and other experiences
of life are the same all over the world. Through the medium of music peace
and compromise can be created between the nations and better political
relations can be established. "Music per se" although music is not an
international language but the effect and result of Music are realized on an
international level.21
21 Music.ucsc.edu/faculty
187
CONTRIBUTION OF FOREIGN AUTHORS TOWARDS
INDIAN CLASSICAL MUSIC
As far as music is concerned, some of the English authors did make
a real attempt in writing about the theory and history of Indian classical
music in detail.
Britishes who entered first as traders and step by step changed
themselves into rulers of this country. They had brought with them the
western spirit of enquiry into India's heritage and past. The British officials,
educational and ittellentucals displayed very wide interest which extended
from studies or Indian flora fauna, tribal customs and society to fine arts.
They turned their attention to the state of our arts like music, sculpture and
painting. As a result, a lot of literature or subjects started being published.
Such written books have their own impact on the minds of the
readers. They certainly brought this hidden treasure to light and the at least
become inclined to listen to such music.
You cannot expect a person to write in detail about the intricacies of
any art without having a sound knowledge of it and to express any practical
art in words is quite a uphill task, till one has the command over the
language as well as the art.
188
On the other hand the theory of it started to unfold Indian music to
those people, who had no approach to Sanskrit, in which most of the
treatises on music had been written. Even Hindi Urdu or persion or any
other Indian language is equally good for the reader of the west. So, with
the English medium it was a great task, which the foreign authors
performed in bringing this art to westerns.
Some of the foreign authors did write about Indian music very
comprehensively and with deep understanding. Here are some of the
important foreign authors who fulfilled this difficult task.
William Jones – He was a great scholar and remarkable linguist,
having a knowledge of as many as thirteen languages. He was acquainted
with the theory of music and his contribution is one of the earliest and most
interesting contribution by an English writer to the study of Indian music.
He founded the Asiatic society in 1784 He remained the president of the
Asiatic society of Bengal for many years. His first article was published in
1793, was a remarkable treatise giving very information's about Indian
Music. In 1793 he wrote two books " Music of India", "On the Musical
made of the Hindoos".22
22 The music of India, William Jones and N. Augustus William. P. 89
189
Caption N Augustus willard- N. A. williard was an army officer,
commanding the services of H.H. The Nawab of banda and Published his
treatise in the book from in 1934, "The Treatise on Music of Hindostan".
He was the first to incorporate the Hindu and Urdu songs in the
shape of 15 plates illustrating certain types of musical compositions with
their staff notation and he also gave the glossary of Indian Music terms.
William Jones and Augustus Williard can be called the pioneer in this field
amongst the foreign authors. Even the Indian writers were so much
impressed by their writings that even writers like Bhatkhande and K.D.
Bannergee very often quote then.23
Pt. Bhatkhande writes – ¶eSa muds xzUFk ls mnkgj.k ys jgk gw¡]
bldk dkj.k ;g gS fd mUgksaus bl fo"k; ij [kkst vFkkZr ,sfrgkfld
[kkst&i;kZIr dh gSA caxky dh xzUFkkdkjksa us Hkh viuh&viuh iqLrdksa esa
muds er dks Lohdkj fd;k gSA "Music of India" This book was written by
both william Jones and Augustus williard.
C.R.Day: His book "The music and the musical instruments of
southern India and the Deccan" mainly deals with the music of South
23 Indian Music through foreign eyes: V.K. Aggarwal.
190
India.24 Capt. Day's finings were focused mainly on the southern part of
India.
Pt. Bhatkhande's views about Capt. Day's writing of Indian musical-
¶Capt. Day lkgc cM+s [kksth O;fDr FksA bUgksaus vius laxhr ds xq.k
vkSj nks"k dkiQh ek=kk esa Li"V :i ls crk fn, gSA muds er ls] veqd jkx
dks lnk veqd Loj esa xkuk] mlesa dksbZ uohu Loj u yxkuk vkfn dBksj
fu;eksa ls viuk laxhr ladqfpr gks x;k gSA¸
A.H. Fox Strangway – Strangways deals with mostly with the
Hindustani music and its notation. He toured the country and so had a direct
contact with the musicians of his times. Although he did not learn the art
and music himself yet wrote a very comprehensive book "The music of
Hindoostan" in Indian music. He admits that he could not understand and
language and noted down the words and notation with he helps of others. In
his non words, "The subject of their songs are given for what very are
worth; I was able to get only at forth hand. The men sang in Bali, this was
translated by one of them into bad Hindustani retranslated into good
Hindustani by a bystander, and from that a version was given me by a
24 The music of Hindostan C.R. Day, B.R. Publishing corporation, Delhi 1974 first published 1981.
191
(patient) English boy of fourteen who's poke Hindustani like a native".25
"Features principles and technique of Indian music is also written by A.H.
Strogways. In this books he classified all the aspects of Indian classical
music. According to him Music is a (Universal Lauguage)."26
W Ousley:- W. ousley gathered his informations about Indian
classical music from his brother Mr. Gore ousely. As Mr. Gore Ousely, a
residence of several years in India has rendered perfectly acquaintedwith
the theory and the practice of Hindustani music. By him were
communicated the Indian arts, and drawing of musical instruments. He
wrote "Aneedotes of Indian Music."27
Frausis Fouke – He himself was in India and gathered the
information personally and also tried to confirm it by doing practical
experiments , He done his experiments on Vina. In his book " On the Vina
or Indian Lyre" he wrote –
"You may absolutely depend upon the necessary of all that I have
said respecting the construction and the scale of this instrument is has been
done by measurement with regard to the internals, I would not depend upon
25 The music and Hindostan: A H Strongways, Clares don Press Oxord 1905. 26 Ibid 27 An extract of a letter in vina Book – Hindu Music : Ousley Pg. 164
192
my ear but had they been tuned to the harp scored and compared the
instruments carefully note by note, more than once."28
William C. Stafford – "The Music of Hindustan" this article of his
is influenced by the writing of willian Jones. May be the inferred from any
other source.
He wrote – " In the sacred books of the Hindus their ancient system
of music is still said to be preserved. these however, have never been
translated and probably never will be. nor do we think they would repay the
time and the trouble which such a task would require"29
The copies of the manuscripts of the sacred books were not very
many and were mostly written in Sanskrit. This translating work has been
incomplete.
H. Blochmann – In their articles they translated passengers from
Aine Akbari pertaining to music and it seems in those articles they have not
contributed much in original form. The translated from of Aine Akbari by
his named.
28 F. Fouke features, principals of Indian Music. 29 Indian music through foreign eyes V.N. Aggarwa. Pg 83
193
"The Naggarhkanah and the Imperial Musicians"30
Ethal Roseuthal- The books "The story of Indian music and its
instruments" contain the reproduction of willain Jone's treatise, as the
second part. In the first part the writer mentioned about music of south and
North India, highlighting Manhar Barve, who had more popular for his
skills of playing a member of musical instruments.
Anne C. Wilson – The author lived in India for a good member of
years. The name of his books its "A short account of the Hindu system of
Music". This books has been refund as "The Hindu Ragas" or "The Hindu
Notations".
This small booklet contain very interesting comparisons between
the two system of noting the time measure along with the notes, western
and Vishnu Digambar's notations systems.31
Margaret E-Cousins- "The music of orient and occident" was
written by Margaret E-cousins also live in India for quite a long span of tine
and was a pianist herself. She wrote a member of papers in the shape of
short essay on western and Indian Music which were published in the
30 H. Blochmann. The Naguarkhana and the imperial musicians 31 Indian music through foreign eyes; V. N. Aggarwal
194
shape of this books. She writes – "India possesses a wealth of artistic
knowledge and power which and devein at this moment bring her the
homage of the world if only the world could be made aware of its
existence"32
H.A. Popley:- The Music of India". The author wrote this book in
consultation with the musicians and musicologists of his time popely wrote
about both the system of Indian Music and while doing so he acquired his
knowledge from the musicians of both the system. The book gives a good
account of Indian music, dealing also with the musical instruments of India.
He also draws the comparisons between the Indian and western music.33
Alain Danicleou;- He learnt ant practical art of performing on the
bin himself during his stay in India. He wrote number of good books on
Indian music as he himself learnt this system of music. A part from so
many articles in leading magazines, his remarkable work is "Northern
Indian Music" in two volunteers and "Research on Indian Music" in 1956.
In 1943 he wrote "Introduction to the study of musical scales" In 1957, he
32 Ibid 33 Indian music through foreign eyes V.N. Aggrawal.
195
introduces Harmony to India and he wrote one book, can Harmaony be
introduced in Indian Music.34
He was the director of international institute for comparative music
studies and documentation in Berti.
Allain Danielean wrote "The Ragas of Northern Indian Music" in
which he classifys the ragas notation in staff notation.35
Francis Gladwin – His articles "Sangeet" is complied by S.H.
Tagore in his book "Hindu Music" A translation from the "Ayeen Akbari"
Vol. 3 is the content of this article which has its non value.36
E. Te. Nigenhuis – E.Te Nijenhnis was a Netherlands born lady.
She gave us good commentary on "Dattilam" in 1973 and later an Ragas of
somnath in two volvs. In IInd volume the ragas of somnath are given in
staff notation. She has studied Sanskrit and as her work indicates, has an
yearning for ancient Indian Music.37
Curt Sachs: - "The rise of music in the ancient world East and
latest" In this book the author has written one chapter an Indian music in
34 Introduction to the study of musical scales: Avain Danielan Bariec and Rocklife, the cresset press cresset Press London 35 Indian Music through foreign eyes. V. N. Aggrawal 36 Ibid 37 Ibid
196
which he tries to give all the information form Vedic time to the modern
Raga system including its rhythmic by art.38 "Music East and West"
isedited by Roger Ashton, This book also contains the articles of many
musicologists and is like Alain Danielere, Emest Meyer H.S. Koelreutter,
Rager Ashton, Hans Stuckenschmidt. Manfred Junious, Lothal Lutze,
Rossethe Renshaw , Janos Karpati, Peter Crossley Holland Dragotin,
Cvetko and Robert Ctartais.39
Walter Kaufmann – "The Ragas of North India." It is a recent in
which the writer has comprehensively given the notation system, enabling a
western musician to get and India about the Indian melodies. He also wrote
another books "Musical notation of the Orient".40
H. Boat Wright: A hand book of staff notation for Indian music" In
this book also an attempt of noting down the Indian Ragas in western
notation system is successively done.41
As above all the foreign music writers, many other people also gave
their contribution to Indian classical music. Instead of their details we here
classify their names and their names and their books names-
38 Indain Music through Foreign eyes 39 Ibid 40 Ibid 41 Indian music through foreign eyes V. N. Aggrawal
197
J.D. Paterson - "On the grams or musical scales
of the Hindus"
J. Nathan - "Music of the Hindus"
Col. P.T. French - Catalogue of India Music
Instruments"
Lient. Col. Jamestod - "Music"
A Campbell - Notes on the Music Instruments
of Nepalese
John Davy - Music of Lydone
Crawford - Music and dancing
E stardiol 1887-1888 - Notes on the Principles of Hindu
music
G.C.M. Birdwood 1880 - Musical Instruments
R.H.M. Dosanguet 1887 - On the Hindu division of Octave
A. C. william - A short accent of Hindu system of
music
Mrs. Mand Mann 1911-12 - Some India Conceptions of Music
198
Lady Wilson 1912 - Five Indian songs
E. Clements 1913 - Introduction to the study of India
Music
Shahinda 1914 - India Music
Charles Cadman 1915 - The Idealization of India Music
For Strangways and - India Music
Perey Brown
H.A. Popley 1921 - The Music of India
Weber 1921-56 - The National and social
foundational of Music
Atia begun F. Rahanmin 1926 - The Music of India
H.G. Raw Lison 1937 - India a short Cultural History
Carl Geiringer 1933 - Musical Instruments
A.A. Bake 1957 - The Music of India
John Marr 1957 - Oriental in fluence on Western
Music
199
Jom Fun Hua 1958 - The traces of Ancient India Music
in China
Appreciating India's Music 1958 - Rev. Emmons White
Dr. Henry Connell 1962 - International Music
Miss Rebecca Stewart 1964 - The Modes of Rhythmic
expression in Music
contemporary India and Western
Music.
Benee Sazabdeshi 1965 - Music Connections between Asia
and Europe
H.S. Powers 1965 - Indian Music and the English
Language
Various Authors 1966 - Music East and West
W. Kaufmann 1967 - Musical Notations of the orient,
The Ragas of North India
Jerry Cohn 1971 - A Western Looks at the India
Concert
200
N.A. Jairaboy 1971 - The Ragas of North India Music,
Their structure and Evolution
Ramon A Plinski 1972 - Influence of India Music on
Western Composers
H.J. Koelrcutter 1972 - The Music of Silence
Reginald & Jamila Massey 1976 - The Music of India
Charles Seager 1976 - Systematic Musicology,
Viewpoints, Orientations and
Methods
Max Wertheimer - Music der Vedda, Journal of the
international Music society year
XI Pt. P 300, 1910. Phonograms
of Songs of the Ceylon Veddas,
Closely analyzed.
Charles S. Nyers - Vedda Music, Chapter XIII of the
Vedda by C.tr and B.Z. Seligman
Cambridge, 1911
201
E. Clements - Introduction to the study of Indian
Music, London 1913 PP IX 104
Richard Simon - The Musical Compositions of
Somnath Critically edited with a
table of not action (Lithographed
M.S. In Nagar, Leipzing, 1904)
A.C. Meclod - Five Indian song Edinburg,
191242
1. The Dawn of Indian music in the west by peter lavezzali winner of
the 2007 Award for excellence in Historical research ARCS:
Associations for recorded sound collections.
2. Traditional Indian Theory and Practice of Music and dance (Panels
of the XIIIth world conference, Kern Institute, Leiden: Aug 23-29 by
Jonthan Katz.
3. Bonnji Wade - Prof and chair of music deptt and U.C. Berkeley. She
holds the chair of the group in Asian studies at International and
Area studies Her publications are-
42 A List collected from various sources through internet
202
(a) Music in Japan – Thinking Musically, experiencing musically
expressing culture.
(b) An Ethnomusicological study of Music
(c) Khayal: Creativity with in North India's Classical Music
Tradition.
(d) Music in India: The Classical Tradition
(e) Tegolomona : Music for the Japanese Koto.43
4. A Review of the "The Music of Hindustan by A.H. Strongways by
Willaim P. Walm
5. North Indian Musical Notation: A Overeview by David Courtney.
6. Singing the Classical, Voicing the Modern: The Postcolonial politics
of Music in South India.
7. Indian Classical Music: Tuning and Rags...... Module by Catherine
Schmidt Jones.
Summary: for the western listener, a Basic Introduction to the tuning
and scales used in the classical music of India.
43 Link. British Library world Music.www.uk/collections/soudn.arechieve/html
203
8. Sound Reasoning: A new way to listen by AnthonyBrandt.
9. Classical Music and the Music of Classical Era by Catherine
Schmidt Jones.
10. The Ragas of North India Music By. N.A. Jairadboy.
11. Becoming Global Audience: Longing and Belonging in Indian
Music Television by Vamsce Juluri Pub by Orient Langmann.
12. The oral in writing: Early Indian Musical Notation by Richard
Widdness.
13. The Ragas of Early Indian Music: Hades, Melodic and Notations by
Richard Widdness
14. Indian Music and English Languages: A Review Essay by Harold S.
powers.
15. Indian Music in the Diaspora: Case Studies of "Cutlery" In
Trinidad and in London.44
44 List of Books Collected from Google search (Goolge.com)
204
French Musicologist has also done some written work in French
language on I.C.M. and present it to international level
1. Pierre Loti: Linde (San les Agnlais) Parits, h.D. 38th Edition
Chapter V describes a concert.
2. J.Grosset (Lyon): contribution a petude de la musique Hindere.
(Places and date not given)
3. O Abrahamund Erid M.: You Harnbostel, Phonographirte
Indische Melodien, Journal of the international music society, 1903.
Ignoring Indian theory, treats twenty eight tunes simply as musical
phenomena.
4. Ludwing Rimann: Uber eigentiimliche bei Natur-and Orientalishen
Kulturvolkern vorkommende tonreihen and ihere Bezihungen Luden
Gesetzen der Harmusic Essen 1899. PP 27-41 relate to India.
5. Richard Simon: Die notations des Somnath a reprint from the
Sitzurgberichte de. Konigal, Bayer, A kad der wissensechaften 1903,
2 plate (facci mile) Munich. These give the system of grace notes
adopted in Ragavibodha, with full explanation.
205
6. Some written work was also done in German Language.
Albercht Weber: indische studien the eighth volume of the –
(1) Beitrage of die Kunde des Indischen Atertums Beun 1963 A critial
study of the earliest authorities, contain quotations from Sanskrit
works relating to the earliest forms of the scale.
(2) Rudilf Westphal: allegenenic Materik degindogermanischen and
semitichan volker. Berlin 1893, PP X 502 and Index.
Indian Classical Music has achieved much respect and progress in
western countries in the last four deades of twentieth century.
Description of some important written works is as follows: Peter
levezolli shoe is a intellectual as well as a musician has put his sight on
Indian music in an open manner and has raised important facts in his books.
He has written the book – The Dawan of Indian Music in the West.
50 years ago in about 1955 AD Ustad Ali Akbar Khan made an L.P.
record 'Music of India: Morning and Evening Ragas' in which yehudi
Menuhin himself recorded his biography. From then Indian Classical Music
is creating an powerful impact worldwide. That album when it came again
in 1995 with the name 'Then and Now' won a Germany Award. Through
such albums not only Indian Classical Music but many words of Hindi
206
associated with Indian culture become very popular like Karma, Yoga, Rag,
Miravana, Words which were not even heard of till then.
With the popularization of Indian classical Music these words have
joined with their language. In this English books there is a full chapter with
word nirvan in English languages.45
With the name of George Harrison and beatles the fame of Indian
classical music has spread in whole of the world. These European
musicians put such an effect of Indian classical music on themselves that
their names were also popularized along with Indian classical music.
With the thought of writing this book "The Dawn of Indian Music
in the West" he interviewed many Indian and foreign musicians and
discussed important subjects. Among then Pt. Ravi Shankar, Ustad Ali
Albar Khan, David Crossbee, Philip Glass, Zakir Hussain, Mikki Hard,
Zubin Mehta and John Machanghin are prominent. These interviews are
full of great attrition towards Indian Music.
In this books we find exposition on Indian music, Jazz, Electronic
Music and interrelation. This book contains Globalization in itself.
45 Goolge.com
207
In Modern Era, Written work on Indian classical music in English
Languages is taking place on a large scale. With the increase of importance
of English languages, Indian classical music has found an international
forum. where Indian classical music has found an Global recognition and
fame from this also attraction towards Indian classical music has inerased
in various western countries.
Research Work Done on Indian Classical Music in Foreign Universities
The principle of Indian Classical Music is melody and rhythm while
in western music is based on harmony, counter point, chords, modulation
which find no place in Indian Classical music. For popularizing Indian
Music in western countries Pt. Ravi Shankar has said: "To understand the
melody and rhythm of Indian Music, one will have to forget about the
harmony, counterpoint and chords etc. Indian Music is principally based on
Melody and Rhythm not on Harmony, Counterpoint, chords, modulation
and the other basics of western classical music. The system of Indian Music
is known as Raga system.46
46 Ravishankar.com
208
Still Indian Music is taught and exhibited on western educational
Institutions. Apart from this many research works on Indian Classical
Music have been done in western and other foreign Universities.
Professor R.C. Mehta had made a list of research work in western
countries, which has been published by Indian Musicological society
Bombay, Baroda, with the name of "Directory of Doctoral Thesis in
Music". In the this directory the detailed information about research work
has been taken from American Institute of Indian Studies, New Delhi &
Allied Publishers Subscription Agency UMI Deptt. Madras:
Research work done by Indian & foreign researcher on Indian
Classical Music in foreign Universities
1. 1956 Powers, Harold S. The Background of the South Indian Rage
System – Vol. test Vol.-2 Music, Vol.-3 Examples Princeton
University.
2. 1965 Brown, Robert Adward. the Mrdanga: A Study of Drumming
in South India Vol.-1; text: Vol-2: A hundred & fifty two Mrdanga
Lessons, University of California Los Angles.
209
3. 1966 Siddique Asharf Hussain Bengali Folklore Collections and
Studies during the British Period (1800-1947) A critical Survey
Indian University.
4. Upadhayah Haris the joint Family Structure and familial
relationship pattern in the Bhojpuri Folksongs Indian University.
5. 1969 Mishra Bhabagrahi, An evaluative Study of the work of verrier
Elewin, Folklorist, Indian University.
6. Owens Naomi The North India Musical Gharanas M.A. thesis. Dept
of Anthropology University of chicago.
7. 1970 Freedern Charles & The Music of India, China, Japan and
Oceanic; A source Books of teachers; the University of Arizona.
8. 1971 Anderson William Miller Jr, A theoretical & Practical enquiry
into the Teaching Music Jave and India in Americal Elementary
Schools: The University of Michigan.
9. 1972; D. Mello, Ralph Placidus' and analysis of folk music of the
Bombay, East India Company. Community of determine possible
assimilation of Idiom derived from Maharashtriyan, Goya and
English Folk Songs. Syracuse University.
210
10. Wade Bonnie Clare; Khayal A Hindustani Classical Vocal Music
Vol. I Text Vol.2 Musical Transcription, the University of California
Los Angeles.
11. Benary, Barbara Lynn within the Karnatic tradition Wesleyan
University.
12. Higgains Jon Borthwock, the music of Bharat Natyam, Vol. 1; text,
Vol. 2 notated & taped examples Wesleyen University.
13. Marrhead, Jan Paul; polyrhythms in Hindustani Music pedagogy and
performance, Sate University of California, Long bech.
14. 1974, Harten Berger John Russell mardangam manual Aguide
books to South India Rhythm or Westem Musician Vol. 1 Rhythmic
Theory Vol. 2; Analysis of Mrdangan Lessons. Wesleyan
University.
15. Ramanathan, Subramanya, Music in Cillapattikaaram Westeyan
University.
16. Shankar L. The art of Violin Accompaniment in South Indian
Classical Music, Wesleyan University.
17. Stewart, Rebeca Marie, The Tabla in prespective University of
California at Los Angeles.
211
18. 1975 Howard Dewey Wayne; The Kauthuma and Jaiminiya School
of a Samavedic chant (Vol I & II) University of Indiana.
19. Simon, Robert Leopold Bhakti, Ritual Music in South India; A
Study of the Bhajan in its Cultural Matrix University of California
Los Angles.
20. Viswanathan, Tanjore, Raga Alapana in South India Music Vol. I
Text, Vol. 2 Transcriptions and taped recording Wesleyan
University.
21. Whitaman James kerry The Dance of Shiva State University of New
York.
22. Gopalan, A Pioneering Folklorist: Jhaver Chand Kalidas Meghani
(1896-1947) of Saurashtre Gujrat India a Study of his folklore
collections, techniques and theories Indian University.
23. Shepherd, Frances Ann. Tabla and the Benaras Gharana Wesleyan
University.
24. 1977 Grover, George Micheal; Landscape and Nadam (Original-
Composition) The University of IOWA
25. 1979 Ellingson Terry The mandala of sound; Concepts of Sound
Structures in Tbetan Ritual Music University of Wisconsin.
212
26. 1980 Ayyangar Rangnagki Veeraswamy "Gamak and Vadanbhed; A
Study of Somnath's Ragvivodha in historical and practical context
University Pennsylvania.
27. Blackburn Stuart Hart. Performance an Paradigmi the Tamil Bow
Song Tradition University of California at Berkeley.
28. Catlin Amy Ruth. Variability and change in three Karnataka Kriti- S;
A Study of south Indian Classic Musics Brown University.
29. Sorrell, Nli Fabian. The North India Classical Srangi its technique
and Role Wesleyan University.
30. Capwel Charles Herbert. The Music of the Bowls of Bengal
Harward University.
31. Quinn, Jennifer Post Marathi & Konkani Speaking Women in
Hindustani Music-1880-1940 University of Minnesota.
32. Sowle, John Steven, The Traditions, Training and performance of
kuttiyattam, Sanskrit Drama in South India University of California
Berkeley.
33. 1983 Flora, Reis Wenger Double reed aerophones in India
University of California at Los Angeles.
34. Moorhead, Jon Paun Polyrhythms in Hindustani Music; Pedagogy
and performance Ph.D. Dissertation California State University.
213
35. Reck David Denedict. A Musician's Toolkit A Study of five
performances by Thirugoharnam Ramachandra Lyre. Vol. 1, Text;
Vol. 2, Transcription – extended Musical examples appendices
cassette tape recordings Wesleyan University.
36. 1984 Durga S.A,K. A New Approach to New Musicological
Methodology: An ethnomusicological persective Wesleyan
University.
37. Flueckiger, Joyce Burkhalthaen: Study of Central India Folkolre
Region Chhatisgarh University of Wisconisn.
38. Holoien, Rence An Ancient Indian Dramatic Music and Aspects of
Moldic Theory in Bharat's Natyashastra – University of Minnesota.
39. Jackson Williom Joseph. Tyagaraga Musical Saints of South India
The Exploration of a religious life and Legacy Harvard University.
40. 1985 Firshman, Marcie lee patterning and cadential formulation in
the South Indian Drum Solo Wesleyan University
41. 1986 Booth Gregory D. The Oral Tradition in Transition,
Implications for Music Education from a study of North Indian
Tabla Transmission Kent State University London.
214
42. Sarah Margret, Rajasthani Musicians in Delhi, Adaptation in
Vollage Tradition. M.A. Thesis Deptt of Ethnomusicology, School
of Music University of Washington.
43. Slawek, Stephen Mathew Kirtan, A Study of the Sonic
Manifestations of the Divine in the popular Hindus Culture of
Benaras. University of Illinois at Urbana.
44. Subramaniam, Karaikudi South Indian Vina Tradition and Individual
Style Vol I, 2 Wesleyan University.
45. 1987 Black Lisa Cindy. The Sarangi; A history and the contingency
of style in an accompanist traditions M.A. Thesis Dept. of
Ethnomusicology, School of Music University of Washington.
46. 1988 Gregieg, John Andrew; Trikhi Sangita: The Foundation of
North India Music in the 16th Century University of California Los
Angeles.
47. 1989 Slegell, Micheal Mary; Finding it as oneself Psychological
Enquiry into the Classical Music Tradition of North India The Union
for Experimenting College and University.
48. Shift, Gordon Nicholos; The Viloin as cross Cultural Vehicale
ornamentation in South Indian Violin and its influence on a style of
Western violin improvisation, University of Wesleyan.
215
49. Thompson, Gordon Ross, Music and Values in Gujrati Speaking
Western India University of California at Los Angeles
50. 1991 Babiracki, Carol, 1991 Musical and Cultural Interaction in
Tribal India; The Karan Repertory of Mundas of Chotanagpur.
University of Illinois.
51. Nelson Davis Paul; The Tani Avartanam in Karnatak Music (Vol i,
II) Univesity of Wesleyan.
52. 1992 Alien Mathew Harp; The Tamil Padam; Advance Music
Genre of South India (Vol I, II) University of Wesleyan.
53. Arnold Alison E; Hindi Filmgit, on the History of Commercial India,
Popular Music, University of Illinois at Urbanam – Champaign.
54. Cormack, Josepha Annel Swar Kalpana: Melodic / Rhythmic,
Improvisation, Ethnomusicology; University of Wesleyan.
55. Duncan Stephen Fredrickl; Christain Bhajans: A study of uses of
Indigenous music in the rites of Catholic Church on the Sub-
Contient of India Since the second Vatican Council with particular
attention of Bhajan and Kirtan; Memphis State University.
56. Murase, Satoru; Terada Yoshitaka; Multiple interpretations of a
charismatic individual. The case of the great Nagaswaram Musician
– T.N. Rajarattainam Pillai Univeristy of Washington.
216
57. Vaughn Kathryn V: Perceptual and Cognitive Implication of the
Tambura drone; figure ground interaction with ten North Indian
Scale types; University of California Los Angeles.47
Theses and Desperations in Indian Music with Wesleyan University
Wesleyan.
1. 1964, Jon B. Higgins.
2. 1970, Benton, Synthia Durkee.
3. 1971, Benany Barkara Lynn.
4. 1980, Hurie, Hariotle.
5. 1999, Getter, Joseph Michad.48
47 Directory of Doctoral Theses in Music/Pub Indian Musical Society. Baroada. 48 Wesleyan.edu/music/curriculum/theses/Ita